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CMP Teaching Plan

Kasey Brylski
Charles Rochester Young
Southern Music Company Grade 5 or 6/~8:00 length

Broad Description
This piece was written after Youngs recovery of his hereditary illness that caused him to lose the use of his arms and
hands that doctors thought he had a zero chance of fully recovering from.
It was commissioned by the Big 12 Band Directors Association in 1997, three months after Youngs recovery.
The piece is driven by brass and percussion and begins with material reflective of a fanfare.

Composer Biography
Charles Rochester Young was born in 1965. He earned his Bachelors degree in music from Baylor University in Waco,
Texas, his Masters degree in music at the University of Michigan, and a Doctoral degree of musical arts from the
University of Michigan. He has won many awards that include: first prize in the National Flute Association New
Publications Competition, first Prize in the National Band Association/Merrill Jones Composition Competition, Special
Commendation from the British and International Bassist Federations, prize winner in the Vienna Modern Masters
Competition, was named "Wisconsin Professor of the Year" by the Carnegie Foundation and the Council for the
Advancement and Support of Education in 1999, and the University of Wisconsin system named Dr. Young as the
recipient of their University of Wisconsin System Board of Regents Teaching Excellence Award in 2000. He is currently
the Coordinator of Musicianship at the University of Wisconsin-Stevens Point.

Background Information
Young wrote this piece to reflect the emotional and physical pain he felt during his recovery and the strength it takes to
overcome hardships. By writing this piece, he wished for performers to find their own strength in performing
The piece premiered at the University of Colorado-Boulder in February 1998.
It is the first piece Young wrote for wind band.
Elements of Music
Measure Meter and Form Melody Rhythm Harmony Timbre Texture Expression
Flute, oboe, Eighth, dotted Bb Heavy, Homorhythmic Aggressive
6/8 (3/4) Opening
1-4 clarinet, trumpet, half piercing
116-132 material
Percussion Eighth, quarter Bright Polyphonic, Bright
Horn, trombone, Eighth, quarter, Dark, brassy, Homophonic Heroic
A euph, tuba dotted quarter, heavy
dotted half
21-28 Eighth, Duplets,
(4+4) dotted quarter
27-30 Flute, oboe, clarinet Eighth, quarter
Horn, trombone, Eighth, duple, Trumpet Piercing, Full
31-42 euph, tuba quarter dotted counter heavy
(4+4+4) quarter, dotted melody
Eighth, duple,
43-48 quarter, dotted
49-56 Flute, clarinet, Eighth, dotted Piercing, Homorhythmic Aggressive
(4+3) trumpet, mallet half heavy
Bass clarinet, Eighth Heavy, More
56-59 B bassoon, tenor + focused, aggressive
bari sax, marimba piercing
64-71 Reedy, heavy

72-79 Bassoon, alto, tenor
(2+2+4) + bari, marimba
80-86 Opening Flute, clarinet, Eighth, dotted
(3+4) material trumpet, mallets half
Bass clari, bassoon, Eighth Heavy,
B tenor + bari, horn focused
1+2, marimba
95-102 +alto
Flute, oboe, Eighth, dotted Piercing, Brassy, heroic
103-111 Opening
clarinet, trumpet, qu, dotted half heavy, bright
(3+6) material
Bass clari, bassoon, Eighth Heavy, Aggressive
B tenor + bari, focused
119-124 Eighth, dotted Heavy, dark Full
6/8, 5/8
(5+1) qu, dotted half and light
Trumpet, Eighth, quarter, Dark, Hocket, Heroic,
125-128 6/8 (3/4) A trombone, horn dotted qu resonant, exposed brass triumph
144-151 Eighth, duple,
(6+2) qu, dotted qu
Eighth, qu, Euph, tuba Piercing, Polyphonic, Aggressive
dotted qu, heavy Full
dotted half
Flute, oboe, Eighth, dotted Homorhythmic
162-168 Opening
clarinet, trumpet, half
(3+4) material

Euph, Dotted qu, Dark, Monophonic, Calm
169-175 A dotted half resonant, empty
176-185 Clarinets Reedy, dark Hollow
Flute, Clarinets, Light, reedy, Homophonic, Lyrical, tender
C bassoon resonant hocket(ish),
exposed flute
Flute, horn Eighth, dotted +interrupting
qu, dotted half piercing
222-237 Flute, oboe, horn Clarinets,
(3+3+5+5) bassoon
250-257 Bassoon, tenor + Eighth Reedy, heavy homorhythmic Aggressive
(4+4) bari, marimba
258-265 +alto
Flute, oboe, Eighth, dotted Heavy,
274-280 Opening
clarinet, trumpet, half piercing
(3+4) material
Flute, oboe Eighth, qu, Clarinets, Light, Homophonic, calmly
281-296 dotted qu resonant, hocket
(3+5+8) piercing

Bassoon, tenor + Eighth Heavy, Homorhythmic, Aggressive
B bari, marimba piercing, full
Eighth, qu, Resonant, Full
6/8, 5/8 dotted qu, reedy, heavy
dotted half
Flute 1, clarinet 1, Eighth, dotted Light Hocket, open, Bright
338-341 6/8 (3/4) A
oboe qu hollow
364-375 Opening Flute, oboe, Eighth, dotted Heavy, Homorhythmic, Aggressive
(3+3+5) material clarinet, trumpet half piercing full
376-386 Bassoon, tenor + Heavy
(4+4+3) bari, marimba
387-398 Flute, clarinet
Horn, trombone, Eighth, duple, Piercing, Homophonic,
(6/8) A euph, tuba dotted qu, heavy, dark hocket(ish),
dotted half full
Flute, oboe, clarinet Eighth, qu,
409-413 B
dotted qu
Eighth, dotted
420-423 Eighth, qu, Homophonic
Eighth, qu, Homophonic,
dotted half full
428-435 Eighth, qu, Heroic
(4+4) dotted half

436-443 Eighth, duple,
(3+3+2) qu, dotted half
454-460 Opening Flute, oboe, Eighth, dotted Homorhythmic, Aggressive
(3+4) section clarinet, trumpet qu, dotted half full
461-470 Dark, Heroic
(2+2+2+2+2) resonant
Horn, trombone, Eighth, duple, Homophonic,
A euph, tuba dotted qu, hocket, full
dotted half
Flute, clarinet Eighth, qu, Low Homophonic,
B dotted qu, woodwinds full
dotted half and brass
Clarinet, saxes Eighth, dotted Piercing, Homorhythmic, Aggressive
B half heavy, dark, full

The Heart Statement

Tempered Steel creates and contrasts different senses of aggressive complexity and melodic beauty to give musicians the
ability to understand the inner strength they all have inside.

Introducing the Piece

To introduce the piece, I will ask students to list multiple different emotions. After we have a list, I will ask students to explain
how composers could portray those specific emotions with examples. If they are having trouble, I can help them by giving
them categories to think about like articulations, dynamics, tempo, rhythmic and melodic elements, timbre, etc. Another way I
could introduce this piece would be to ask students what are some things in life that make them feel calm/happy/hopeful and
in contrast ask them what makes them feel angry/troubled since those are the two broad emotions in Tempered Steel.

Affective Outcome:
Students will recognize how human expression translates into musical ideas in the contrasting sections of aggressive
complexity and melodic beauty by expressing how it feels to overcome an emotional or physical hardship through finding a
balance of intensity and delicacy in the same piece.

1. Students will listen to two different pieces that they are also playing or have played in band (one that is
melodic/slow/clam and one that is aggressive/loud/strong) and will compare the two pieces and their musical
2. Students will find passages in their part of Tempered Steel that represents two different emotions/ideas. They will find
one that is aggressive or strong and a passage that is gentle and/or lyrical and express what they feel is the emotion
presented in both passages.
3. Students will take one (or both) of the musical ideas within the piece that represents an emotion or a mood and will
create their own piece of music to represent an emotion. They could create piece that represents happiness, anger, fear,
sadness, hope, etc.

1. I will assess the students the students by having them answer this question: Find two contrasting sections from
Tempered Steel and write about the human emotion you believe is being portrayed through the music. Use specific
examples from the score in your answer and cite the measure numbers. I will be able to know if students understand
the way musical elements are used to portray a specific emotion if what they write down makes sense. For example, if
they chose a section that is full of accents and loud dynamics and they say it is anger.
2. I will also assess the composition assignment in the same way.

Skill Outcome:
Students will produce an aggressive sound while keeping control of their sound and playing with clear articulations.

1. We will listen to a good recording of the piece so they get an idea of what aggressive playing sounds like.
2. One activity I could do in class is have students play a scale and have them follow the different gestures I conduct to
hear and see the contrast between accented, staccato, and marcato. They will see the aggression in my conducting for

marcato and accented and the clearness throughout all the different gestures. They will be able to translate my
conducting to how they play.
3. I will have them play long tones and have them play between different dynamics. As they get louder, I will have them
control their sound with their air. I will then have them do the same thing but will add accented articulations.

1. I will assess the students by listening to them informally and a band and as sections.
2. I will have each of them play an excerpt and grade them using a rubric on their sound quality, their ability to play clear
articulations, and play with an aggressive sound.

Knowledge Outcome:
Students will evaluate the compositional techniques that keep the interest of players and listeners.

1. Students will discuss in class different musical aspects and elements they like or enjoy playing/listening to in Tempered
2. I will ask them to name one thing they like in their part and one thing they like in another instruments part and why
they like it.
3. We will them talk about different musical elements and how changes in them and/or new material keeps listeners
engaged to the music. We will also talk about the emotional connection that is created through music when it is
performed effectively and ways they can achieve it.

1. I will assess them by having them write down their answers to strategy 2 on a piece of paper one class day. I will read
whether students are able to think about music in a critical way and how they can relate their own feelings and
emotions to what they hear through the use of different musical elements.

Recommended Recordings
North Texas Wind Symphony conducted by Eugene Corporon - https://www.youtube.com/watch?v=cc5mHwnSmHE
I recommend this recording because it is a professional recording that demonstrates the aggressive playing and clear
articulations well. The pulse is steady throughout the recording and the sound quality is excellent.

Broward Symphonic Band conducted by Chandler Wilson - https://www.youtube.com/watch?v=zey81MtvS5s
I recommend this recording because it is a live performance. The balance is good throughout the piece and it shows the
contrast between the moods and sections well.

University of Wisconsin Stevens Point. https://www.uwsp.edu/music/Pages/Faculty/young.aspx
C. Alan Publications. http://c-alanpublications.com/brands/Young%2C-Charles-Rochester-%28b.-1965%29.html

Works for Winds

Tempered Steel (1997), Northern Lights (1998), Legends of the Northern Wind (1999), A Childs Embrace (2000), Springtime
Heralds (2000), Concert (2001), With Honor and Praise (2003), Of Spirit and Splendor (2003), Songs Without Words (2003), In
the Evening Quiet (2004), Ancient Blessings (2005), Noble Deeds (2005), Galop (2006), Where the Waters Gather (2007), Let
These Words Ring True (2007), Variations (2009)

Glossary of Terms
Heroicly, aggressively, brassy, calmly, gently, lyricly, warmly, violently, normale, medium motor

Sang through, studied, and marked parts (check off as completed)

x Piccolo x Cornets/Trumpets x 1st Violins

x Flutes x Horns x 2nd Violins
x Oboes x Trombones x Violas
x English Horn x Euphoniums x Celli
x Bassoons x Tubas x String Bass
x Eb Clarinet x Harp
x Clarinets x Timpani
x Alto Clarinets x Snare Drum x Sopranos

x Bass Clarinets x Mallet Percussion x Altos
x Contra Bass/Alto Clarinet x Remaining Percussion x Tenors
x Saxophones x Piano x Basses